All About Jazz needs your help and we have a deal. Pay $20 and we'll hide those six pesky Google ads that appear on every page, plus this box and the slideout box on the right for a full year! You'll also fund website expansion.
For his second album, pianist Marcelo Zarvos has written a volume of chamber jazz pieces that maximize the lyrical nature attained when interweaving soprano saxophone, cello, and piano melodies. His counterpoint contains elements from Zarvos’ native Brazil as well as from his parents’ Greek homeland. The universal language of music ties cultures together readily through shared basic elements as well as through percussion effects that remain common to countries all over the world. The pianist, who studied at Berklee and CalArts, favors a rhythmic syncopation in the left hand while paying particular attention to harmonic textures. The MA record label, whose roster also includes artists such as German trumpeter Markus Stockhausen and Yugoslav guitarist Miroslav Tadic, has a web site that contains more background information on Zarvos and saxophonist Peter Epstein.
Soothing and natural, the album’s percussive colors include berimbau, talking drum, marimba and other gentler effects. Romero Lubambo’s acoustic guitar shades two pieces with lyrical interludes as well as fingerstyle accompaniment. The sweet lyrical soprano saxophone and cello add a tinge of the classical to Zarvos’ session. It’s not swingin’ jazz, but the pianist’s project lays gently in your lap as you soak up his cross-cultural worldly affair.
Jazz is a continuing revelation. The best show I ever attended was the
Roots Picnic at Penn's Landing in Philadelphia, or was it Robert
Glasper's Experiment at Lincoln Center, or was it Chick Corea with
Brian Blade at Oberlin College? Most of all I enjoy playing guitar and
composing beats with my Brooklyn-based group Space Captain.